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An Architect in a Metaverse

In this interview, we talked to the participants of the festival of creative industries G8 about why metaverses are our tomorrow’s everyday routine, and how architects can already influence it today.

06 September 2022
Interview
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Metaverses are the central subject matter of the “Architecture” section at the G8 festival of creative industries that took place in the “Supermetal” space on the 9th of September. The curator of the section was Sergey Nadtochiy, the art director and the branch manager for AR and VR projects in the Atrium studio. In his opinion, the world is on the verge of transformation of the Internet, which in turn will cause a transformation of architecture. And just as graphic designers created a two-dimensional Internet as we know it, so architects will create a three-dimensional Internet that we will all use tomorrow. At the conference, the pioneers of this direction in Russia – Ivan Puzyrev and Alina Chereyskaya – talked about the architecture of the metaverses.

The agenda of the event is available here. We asked the architects to share about metaverses and about what’s going on with them right now.

Sergey Nadtochiy, Head of the ATRIUM Digital and ATRIUM Education

Art Director of Atrium studio, founder of the Dearch.space platform dedicated to NFT architecture and design. In the company, Sergey heads the ATRIUM Digital and ATRIUM Education departments, which develop projects for AR/VR spaces and the metaverse, and a methodology for designing modern educational spaces.

Co-founder of Arhead Metaverse, an expert in augmented and virtual reality technologies with more than 10 years of experience in the field of digital strategy focused on spatial computing and the use of augmented reality on a city scale. His portfolio of projects includes “Dubai Culture”, “Hermitage”, and “Venice Biennale”.

Alina Chereiskaya

Architect and partner of Samlab, winner of the Europe 40under40 award, tutor of DigitalFUTURES. Editor of the telegram channel @salab_daily on the practical application of robots, AI, VR, AR and other technologies in architecture, as well as the host of a podcast about architecture in the digital age, “The House that Code Built”


What is a metaverse, and why is it inevitable

Alina:
The term first appeared in a novel by Neal Stephenson “Snow Crash” back in 1992 – it described some synthetic virtual space, in which you could be whatever you wanted, and do whatever you wanted. It’s been 30 years now, and everybody started talking about metaverses because technologies came around that can make this thing a reality.

Currently, we are in a transition period from Web 2.0 to Web 3.0. While Web 1.0 was essentially about static websites where the user could only consume content, in Web 2.0 you can create content and share it online. In Web 3.0, you will be able to securely own the content. The two major issues with Web 2.0 are the vulnerability of your personal data and the content copyright. By using the blockchain technologies and NFT, Web 3.0 will be able to solve these issues, and, in addition, it will ensure immersive experience through AR and VR, and will provide a horizontal system, in which the communities will make their own rules. In this crisis of the Internet and its gradual transformation, new spaces appear, and metaverses become a part of Web 3.0.

The pandemic also played a part – this self-isolation proved that we can work, study, and even hang out remotely. AR and VR are widely available; computers and software make it possible to create virtual worlds.

Today, an individual lives in a hybrid space where the digital world is represented by social media and online services, while the physical world is represented by their favorite cafe, the city square, and their home. According to forecasts, by 2026, 25% of people will spend at least an hour a day in a metaverse, and the number of active users has been growing dramatically in recent months. It must be noted that the metaverse must become a single seamless space – in 2022, we are only witnessing the forming of prototypes.



Ivan:
Metaverses are like some three-dimensional Internet, or the next dimension for your content. Everything that we see around us is volumetric but for some reason the digital interfaces remained flat for a long time. This is why the exodus of information to the volumetric space can be perceived as an inevitable process: the information no longer fits in the small flat screens, it needs more room. This is a continuation of gradual movement from books, audio recordings, radio, and mobile platforms to the global phenomenon that will connect people and information.

According to preliminary forecasts, by 2026, about a quarter of the world’s population will spend about an hour in a metaverse in this or that form. If we consider virtual worlds to be any joint experience inside a three-dimensional world, then such phenomena as Minecraft, Roblox, or Fortnite are already drawing millions of unique users a month. More modern metaverses, which are more decentralized and are driven by some form of blockchain, do not attract as many people so far, but this will change. In metaverses, people will receive values that in no way will be at odds with the values of the physical world – rather, they will only complement it.

What can an architect do for a metaverse?

Sergey:
Creating architecture for metaverses is something that all users can do, but the freedom of self expression in a metaverse presents its own specific challenges. Historically, cities developed spontaneously, but now we are well aware of the issues created by outlaw construction and bad town planning. Thus, we have a task to develop interaction and control systems meant to make sure that the new quality of the Internet does not lead to chaos. Currently, software developers are trying to solve these problems themselves, sometimes attaching the users but this is clearly not enough. It is necessary to carry the architectural expertise over to the metaverse.

In the modern world, the progress is driven by the technology companies, but they have their own standards of success: how many purchases, how many clicks, how much time on the page, and so on. Pursuing their own interests, they may create an environment that is not based on universally accepted human values. A vivid example: the automobile lobby of the mid-20th century was so powerful, and the architects were so unaware of the scale of the transformation of cities under the influence of technological progress, that we are still raking out the mistakes of that time. Architects should take responsibility for what is already happening in the metaverse, and try to create an architecturally correct environment there.

Liberland Metaverse
Copyright: © Zaha Hadid Architects


Alina:
Today’s prototypes of metaverses often look like cities: the same public spaces, the same territories that can be developed, the same buildings, parks, and streets. Today this is all voxel geometry and low-polygon aesthetics – and the architects are used to a different concept. At the same time, cyberspace does not hinder us by any physical limitations, construction regulations, or budget constraints. What matters in the digital world is how you work with geometry, how you optimize it, and what narrative you are offering to the end user. And the architects are still yet to come up with the language for that digital world. There will be author spaces that will cooperate with architects, and there will be spontaneous spaces too.

Ivan: 
You need three components for a metaverse to exist. The first one is the world, the context, the 3D space. The second is the avatar. And the third is the content that can be placed within the space, and with which the avatar will interact. All these components will be modernized and augmented; subcategories will appear, but the content will forever remain the most meaningful and significant component. Just the same as the architect in the physical world, the architect in a metaverse will be able to influence the feelings of a whole group of people inside such a space. Today, this is something that is already done by game designers. The stage of mimicry to the physical world must soon pass or settle for occupying a small part in the architecture of metaverses because the challenge lies in new materials, new tools, and the absence of most of the constraints inherent to the physical world.

What are the necessary competencies for an architect of metaverses?

Alina: 
I would describe the main competence as creative coding – a skill that combines coding and creative skills. We are witnessing rapid development of AI that is already changing the fundamentals and tools for creating architecture. Neural networks can generate images and videos, they can alter geometry, and we are one step away from the point when they will be able to generate 3D objects by mere description. It is important to understand the principles of writing a code and be at the junction of different disciplines.

Ivan:
One of the key skills in the architect’s profession is now game design and understanding how games are actually wired – it is not always a primitive set of crystals, and the audience can be very complex too. On the whole, contrastive combinations within professions generate a unique vision inside a metaverse, and it is doing it a lot of good. And make no mistake – metaverses are not just about games. When the Internet first came about, we all thought that it would come down to exchanging messages – nobody had a clue that by using this silicone box we would order food or taxis. A metaverse behaves in exactly the same way; a lot of functions will come around, as well as UX and UI design.

The influence of cyberspace architecture on the physical one

Sergey:
In a metaverse, the traditional construction logic no longer applies, and sometimes you can even change the laws of physics, granting your avatars an opportunity to jump 30 feet high or walk on the ceiling. Such conditions for creative activity will create a new quality of architecture, which, I am absolutely sure, will sooner or later bleed from virtual architecture into physical one. I will remind those who think that you can only become a real architect if you build and work with real-life material that many great architects developed their own unique style specifically on virtual projects – Fun Palace by Cedric Price or the utopian projects by Boullée and Ledoux, to name but two. Over the last 20 years, the architectural discourse has been in a state of crisis because there are no significant and groundbreaking trends. A metaverse is all about a new approach and new opinion makers. Very soon they will create a new visual language, come up with new properties of spaces, and will change architectural styles.

Liberland Metaverse
Copyright: © Zaha Hadid Architects


Ivan: 
A metaverse can also be regarded as a digital layer that is superimposed over the city and can be read from a smartphone, for example. This is why the buildings must possess a set of elements that will match not just human vision but the AR’s as well: even today we have unmanned vehicles, drones, and robots that do delivery and other services. In the more distant future, I think, the bravery and craziness of the architects in a metaverse will introduce new visual habits in people, which will affect the architecture of the physical world.

Alina:
Today, a metaverse may serve as a platform for testing ideas that can later on be applied in a physical world. Zaha Hadid Architects, for example, is developing for Liberland the master plan and the public spaces for presentations.

The digital world must become an experimental space for reinventing things that we are building in a physical world considering the global environmental impact of the construction industry. Furthermore, metaverses are more inclusive thanks to their being more accessible and thanks to their wide range of features.



What have you done for a metaverse?

Alina:
In the SA lab, we turned to digital architecture in 2020, where we were doing projects for the GEEK PICNIC festival. When the event switched from offline to online, we came up with virtual pavilions. The project explored the opportunities for architecture unhindered by the habitual time and budget constraints; within one day, the pavilions were visited by 10,000 users, and this still can be done by any computer user.



A few months later we, together with ARCHSLON and SYNTHESIS MOSCOW, we conducted Russia’s first online architectural festival 360FEST, in which students themselves created virtual spaces for museums.



In 2022, within the framework of the DigitalFUTURES program, on the basis of the Tongji university, we taught students from nine countries how to create virtual spaces and landscapes at the Wormhole Gallery workshop. Virtual galleries often look like physical ones – essentially, these are white boxes filled with content. In this project, however, we completely revise the gallery typology, meditating on the material and tactile in digital, and we also cross physics, game design, architecture, and coding. What we ultimately got was a meditation space, in which you can be alone or travel between the works by architects. The final projects were placed in three metaverses – Voxels (Cryptovoxels), Decentraland, and TopoPixel.



The G8 Festival will feature releases of the new projects that hitherto were not published anywhere.

Also, we want to consolidate our educational experience in a single environment, working on the KODIIA project – a platform with interactive educational tools for creative coders. KODIIA is aimed at forming a synthesis of technical and creative skills, and is focused on coding as a creative tool for creating games, virtual spaces, and graphic design experiments. Currently, one can leave an application for early access to a beta version.

Ivan:
We did the first virtual exhibition of digi art in the Hermitage, and, surprisingly, the curators gave us a Carte Blanche. We took the building of the Stock exchange, scanned it, and fully recreated it. The digital artist Oleg Soroko used a whole set of algorithms that allowed to transform the bottom part of the space beyond recognition and added to it an unbelievable number of lines and shapes, seemingly out of the human hand’s control. Oleg did not really mold them – he programmed an algorithm that yielded this shape. The top part, however, remained the exact replica of the Stock Exchange building. What it ended up being was some sort of a transaction between something historical and something absolutely new.

Within the framework of the Future Cities festival, we created a virtual world, in which works were presented by artists that work in the physical world in different cities. We carefully transferred the installations and cityscapes into the metaverse, and it resulted in a trip that you can make without leaving the comfort of your home.

Yet another client of ours is the Hutton developer company. At the international convention of modern art Cosmoscow it will showcase its own project – any spectator of the presentation will be able to go to the Moon.

On the basis of our arhead.io platform, Sergey Nadtochiy and his team created a space for the DEIP company – he sent us traveling inside a computer board as a chunk of energy. For me, this was like a reminder about the material: for example, when we speak about “cloud storage”, imagining something nebulous, this is in fact just a metaphor because actually all the data is stored on servers that belong in the physical world. Making a run of the computer board and hearing about blockchain, we again remember that everything digital is still material in its essence, just as everything non-organic is in fact organic because it has risen from the soil. This is something that you cannot experience in a physical world.

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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM
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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM
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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM
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    DEIP metaverse city – ATRIUM architecture, Arhead platform
    Copyright: © ATRIUM


Sergey:
My first project, dedicated to architecture in a metaverse, was my diploma project in AA School. Under the leadership of the founders of the Space Popular studio, we, together with other students, spent a whole year researching cyberspace and designing it. We did not copy from available tools and platforms, but created our own projects that can only be implemented in 5 or 10 years’ time.


The first project in ATRIUM on the Arhead platform, together with the Balagan creative agency, we developed for a blockchain company event, creating a whole virtual city. And on the 7th of September, the Somnium Fashion Week started – one of the most significant events in the world of digital fashion, for which we designed the main space for the fashion show as such and a showroom of one of the brands.

Somnium Fashion Week space, visualization
Copyright: © ATRIUM


In addition, together with the Dearch Space platform we helped other creators to come up with six more fashion spaces. Together with my partners, who also have some architectural background, we created this platform in order to help architects and designers master cyberspace, and we also wanted to help the companies that want to showcase their product and interact with the metaverse users do this in a high-quality environment.

Currently, we are actively exploring the market, building partnerships with platforms and distributors, organizing their joint work, preparing new events, publications and educational content. We believe that it is the architects who will create the metaverse, and we invite everyone to join this fascinating process!

06 September 2022

Headlines now
Elevation 5642
The Genplan Institute of Moscow has developed a comprehensive development project for three ski resorts in the Caucasus, which have been designated as special economic zones of the tourism and recreation type. The first of these zones is Elbrus. The project includes the construction of new ski runs, cable cars, and hotels, as well as the modernization of stations and improvements to the Azau tourist meadow. To expand the audience and enhance year-round appeal, a network of eco-trails is also being developed. In this article, we provide a detailed breakdown of each stage.
The IT Town
Taking the example of the first completed phase of the “U” district, we examine how the new neighborhood in Innopolis will be organized. T+T Architects and HADAA formed a well-balanced and ingenious master plan with different types of housing, a green artery, a system of squares, and a park in the town’s central part.
The Heart Lies Within
The second-phase building of the Evgeny Primakov School already won multiple awards while still in the design stage. Now that it’s completed, some unfinished nuances remain – most notably, the exposed ceiling structures, which ideally should have been concealed. However, given the priority placed on the building’s volumetric composition, this does not seem critical. What matters more is the “Wow!” effect created by the space itself.
Magnetic Forces
“Krylatskaya 33” is the first large-scale residential complex to appear amidst the 1980s “micro-districts” that harmoniously coexist with the forests, the river, the slopes, and the sports infrastructure. Despite its imposing scale, the architects of Ostozhenka managed to turn the complex into something that can be best described as a “graceful dominant”. First, they designed the complex with consideration for the style and height of the surrounding micro-districts. Second, by introducing a pause in its tallest section, they created compositional tension – right along the urban planning axis of the area.
Orion’s Belt
The Stone Khodynka 2 office complex, designed by Kleinewelt Architekten for the company Stone, is built with an ergonomic layout following “healthy building” principles: natural light, ventilation, and all the necessary features for an efficient office environment. On the outside, it resembles – like many contemporary buildings – an iPhone: sleek, glowing, glass-and-metal, edges elegantly rounded. Yet, it responds sensitively to the Khodynka context, where the main theme is the contrast between vertical and horizontal lines. The key intrigue lies in the design of the “stylobate” as a suspended passage, leaving the space beneath it open for free pedestrian movement.
Grigory Revzin: “It Was a Bold Statement Made on the Sly. Something Won”
In this article, we discuss the debates surrounding the circus competition and the demolition of the CMEA building with the most renowned architectural critic of our time. A paradox emerges in the process: while nostalgia for the Brezhnev era seems to be in vogue in Russia, a landmark building – the “axis” of the Warsaw Pact – has been sentenced to demolition. Isn’t that strange? We also find out that wow-architecture has made a comeback as a post-COVID trend. However, to make a truly powerful statement, professionals still remain indispensable.
Exposed Concrete
One of the stages of improving a small square in the town of Lermontov was the construction of a skatepark. Entrusting this part of the project to the XSA team, the city gained a 250-meter trick track whose features resemble those of land art objects – unparalleled in Russia in both scale and design. Here’s a look at how the experimental snake run in the foothills of the Caucasus was built.
One Step Closer To the Dream
The challenges of getting all the mandatory approvals, an insufficient budget, and construction site difficulties did not prevent ASADOV Bureau from achieving its main goal in the realization of the school project in the town of Troitsk – taking another step away from outdated notions of educational spaces toward creating a fundamentally new academic environment.
Chalet on the Rock
An Accor hotel in Arkhyz, designed by A.Len, will be situated at the gateway to the resort’s main tourist hubs. The architects reinterpreted the widely popular chalet style while adding an unexpected twist – an unfinished structure preserved on the site. The design team transformed this remnant into an exciting space featuring an open-air pool and a restaurant with panoramic views of the region’s highest mountain ridges.
Sergey Skuratov: “By and large, the project has been realized in line with the original ideas”
In this issue, we talk to the chief architect of Garden Quarters, looking back at the history and key moments of a project that took 18 years to develop and has now finally been completed. What interests us most are the transformations that the project underwent during construction, and the way the “necessary void” of public space was formed, which turned this remarkable complex into a fragment of a whole new type of urban fabric – not just at the horizontal “street” level but in its vertical structure as well.
A Unique Representative
The recently concluded year 2024 can be considered the year of completion for the “Garden Quarters” residential complex in Moscow’s Khamovniki. This project is well-known and, in many ways, iconic. Rarely does one manage to preserve such a number of original ideas, achieving in the end a kind of urban planning Gesamtkunstwerk. Here is a subjective view from an architecture journalist, with an interview with Sergey Skuratov soon to follow.
Field of Life
The new project by the architectural company PNKB (an acronym for “Design, Research, and Advisory Bureau”), led by Sergey Gnedovsky and Anton Lyubimkin, for the Kulikovo Field Museum is dedicated to the field as a concept in its own right. The field has long been a focus of the museum’s thorough and successful research. Accordingly, the exterior of the new museum building is gentler than that of its predecessor, which was also designed by PNKB and dedicated specifically to the historic battle. Inside, however, the building confidently guides the visitor from a luminous atrium along a spiral path to the field – interpreted here as a field of life.
A Paper Clip above the River
In this article, we talk with Vitaly Lutz from the Genplan Institute of Moscow about the design and unique features of the pedestrian bridge that now links the two banks of the Yauza River in the new cluster of Bauman Moscow State Technical University (MSTU). The bridge’s form and functionality – particularly the inclusion of an amphitheater suspended over the river – were conceived during the planning phase of the territory’s development. Typically, this approach is not standard practice, but the architects advocate for it, referring to this intermediate project phase as the “pre-AGR” stage (AGR stands for Architectural and Urban Planning Approval). Such a practice, they argue, helps define key parameters of future projects and bridge the gap between urban planning and architectural design.
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
GloraX plans to develop a residential complex spanning 14 hectares along the Volga River in Nizhny Novgorod. The winning design in a closed-door competition, created by GORA Architects, features housing typologies ranging from townhouses to terraced high-rise slabs, a balance of functions, diverse ways of engaging with the water, and even a dedicated island (no less!) for the city residents.
Life Plans
The master plan for the residential district “Prityazheniye” (“Gravity”) in Naberezhnye Chelny was developed by the architectural company A.Len, taking into account the specific urban planning context and partially implemented solutions of the first phase. However, the master plan prioritized its own values: a green framework, a system of focal points, a hierarchy of spaces, and pedestrian priority. After this, the question of what residents will do in their neighborhood simply doesn’t arise.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
A Step Forward
The HIDE residential complex represents a major milestone for ADM architects and their leaders Andrey Romanov and Ekaterina Kuznetsova in their quest for a fresh high-rise aesthetic – one that is flexible and layered, capable of bringing vibrancy to mass and silhouette while shaping form. Over recent years, this approach has become ADM’s “signature style”, with the golden HIDE tower playing a pivotal role in its evolution. Here, we delve into the project’s story, explore the details of the complex’s design, and uncover its core essence.
Gold in the Sands
A new office for a transcontinental company specializing in resource extraction and processing has opened in Dubai. Designed by T+T Architects, masters of creating spaces that are contemporary, diverse, flexible, and original, this project exemplifies their expertise. On the executive floor, a massive brass-clad partition dominates, while layered textures of compressed earth create a contextually resonant backdrop.
Layers and Levels of Flight
This project goes way back – Reserve Union won this architectural competition at the end of 2011, and the building was completed in 2018, so it’s practically “archival”. However, despite being relatively unknown, the building can hardly be considered “dated” and remains a prime example of architectural expression, particularly in the headquarters genre. And it’s especially fitting for an aviation company office. In some ways, it resembles the Aeroflot headquarters at Sheremetyevo but with its own unique identity, following the signature style of Vladimir Plotkin. In this article, we take an in-depth look at the United Aircraft Corporation (UAC) headquarters in the Moscow agglomeration town of Zhukovsky, supplemented by recent photographs from Alexey Naroditsky – a shoot that became only recently possible due to the fact that improvements were finally made in the surrounding area.
Light and Shadow
In this article, we delve into the architectural design of the “Chaika” house by DNK ag architects, which was recently completed in 2023 as part of the collection of signature designs at ZILArt. As is well-known, all the buildings in this complex follow a design code, yet each one is distinct. This particular building stands out not only for its whiteness and minimalism but also for the refined use of a limited number of techniques that, together, create what can confidently be called synergy.
Casus Novae
A master plan was developed for a large residential area with a name of “DNS City”, but now that its implementation began, the plan has been arbitrarily reformatted and replaced with something that, while similar on the surface, is actually quite different. This is not the first time such a thing happens, but it’s always frustrating. With permission from the author, we are sharing Maria Elkina’s post.